Van Lathan and Rachel Lindsay discuss the Alabama Supreme Court ruling that’s resulted in the halting of IVF treatments (5:18), before reacting to Tiffany Haddish’s trip to Israel (20:41). Then they break down a viral TikTok account called Biracial Lounge(38:16) before welcoming the founder of the X for Boys Life Preparatory School, King Randall I, to discuss a recent post on safety during police interactions (47:33).
Hosts: Van Lathan and Rachel Lindsay Guest: King Randall I Producers: Donnie Beacham Jr. and Ashleigh Smith
As we’ve been reporting on all the fun surrounding the Super Bowl and Taylor Swift‘s A-list squad, Blake Lively‘s AH-Mazing outfit didn’t go unnoticed by fans! The 36-year-old showed up to the big game alongside her BFF Tay and rapper Ice Spice to cheer on Travis Kelce. She came dressed to the nines with a gorg curly hair look and a super fun Adidas tracksuit in Kansas City Chiefs red — all paired together with some chunky gold jewelry that sparkled under the VIP suite lights.
The golden dazzlers weren’t just costume gems, though! Apparently Ryan Reynolds‘ wife dropped some SERIOUS dough on her bangle bracelets, thick chain necklace, and dangly earrings!!
At Allegiant Stadium, per Page Six, the actress and momma of four had a number of Tiffany and Elsa Peretti pieces on her. They included a silver chainlink necklace valued at $18,500, a gold graduated link necklace valued at $62,000, and a diamond pavé necklace worth the most at a whopping $78,000. That’s nearly $159,000 ON HER NECK ALONE!
Moving to her wrists, the Gossip Girl alum wore 14 different bracelets — with the cheapest one being well over a thousand dollars! She had on two link bracelets of the same design in different styles for $12,500 and $26,000 respectively, as well as a series of an Elsa Peretti cuff that goes for $12,300 and a doughnut bangle for $29,000. She stacked up two diamond and white gold bangles for $56,000 in total.
And if you thought she was done, you thought wrong! Her accessories continued with two Tiffany bangles valued at $7,500 and $7,800 — and she tacked on two diamond versions of those bangles as well for $27,000 and $39,000! Taking a break from all the gold jewels, Blake decided to mix in some silver with a $42,000 lock bangle, a half pavé white gold bangle for $17,000, and another Elsa Peretti knot bangle covered in diamonds which retails for $54,000.
The least expensive wrist accessory of the night was valued at $1,825 — being a simple sterling silver bangle — leaving the total value of her wrists alone at $304,925. WILD!!
Blake’s two sets of earrings were a simple pair of Tiffany Solitaire diamonds which retail for $1,650 and some Elsa Peretti snake danglers valued at around $4,000 — but to Swifties, that subtle nod to the forthcoming rerecording of Reputation (Taylor’s Version) is priceless! Take all that together and The Shallows star wore $469,075 worth of jewelry on her person at the game. Nearly half a MILLION bucks worth of accessories all paired with a tracksuit! Iconic!
The Masked Singer was hit with another double elimination tonight (February 10) as Air Fryer and Eiffel Tower were voted out before the final.
For the first unmasking, Air Fryer was revealed to be The Greatest Showman star Keala Settle. The British singer has also starred in many musicals including Sister Act, & Juliet, and Waitress.
For the second unmasking of the evening, iconic ’80s singer Tiffany was unveiled as Eiffel Tower. The chart-topping star rose to fame after her debut single I Think We’re Alone Know became a global smash.
Keala was unmasked as Air Fryer (Credit: ITV)
Masked Singer: Air Fryer revealed
While making it to the semi-finals, the panel failed to guess Air Fryer’s identity. For their final guesses, they went with the likes of Jennifer Hudson, Ella Henderson, Whoopi Goldberg, and Rebel Wilson.
When Air Fryer revealed themselves as Keala, the panel was left stunned.
“Not even close,” Davina McCall admitted while the audience laughed.
She added: “You’ve done such a good job disguising your voice.”
While referencing her costume, Jonathan Ross asked if Keala owned an air fryer at home, to which she responded: “I do have an air fryer and I absolutely love it!”
Talking about her time on the show, Keala said it was a “massive learning experience” and a “game changer.”
“I’m pleased and privileged to be able to do it.”
Tiffany was unveiled as Eiffel Tower (Credit: ITV)
Eiffel Tower revealed
Like Air Fryer, Eiffel Tower was a killer vocalist with pipes. For the panel’s final guesses, they said Lindsay Lohan, Lisa Stansfield, Debbie Gibson, Vanessa Paradis, and Tracey Chapman.
Even though he mentioned her name earlier in the episode, Jonathan Ross was kicking himself for sticking with Debbie Gibson.
“I was so close,” he said. “That is mega!” a stunned Davina added. “I should have got it” Jonathan added.
“Tiffany, you have the most incredible voice! It’s so cool that you’re on the show,” an excited Rita Ora stated.
“It’s been a pleasure to be here,” Tiffany told the panel, adding, “I have had a blast, it’s been so great.”
While performing her hit I Think We’re Alone Now to close the show, the American star received a standing ovation.
Next Saturday (February 17), the final three, Cricket, Piranha, and Big Foot, will perform for the last time and one of them will be crowned a winner.
The luxury retail market is no stranger to brands stepping out of their comfort zones and into the world of fashion. Think: Hermes switching from saddles to purses, Louis Vuitton pivoting from luggage to fashion, and more recently, Tiffany & Co. collaborating with Nike. And yes, sometimes it can work perfectly (LV)…but sometimes, it fails (Tiffany).
It’s the age-old question: should we branch out as a brand and sell our souls to the runway…or should we stick to what we know? For most brands, the answer is it’s worth a shot. And for Harley-Davidson, fashion isn’t as much of a stretch as you’d think.
You know the Harley logo, and you’ve seen the massive storefronts that apparently don’t just sell two-wheelers. You see, those ubiquitous trucker hats and baby tees embossed with that recognizable orange logo already make the motorcycle company a ton of cash. They did $270 million in clothing sales alone in 2022.
So it’s no surprise that they’re scaling up from logo trucker hats to make a real play at entering the fashion world. They even tapped former Yeezy co-creator Louise Goldin as Harley’s first-ever creative director to lead the way. Goldin’s genius aided the infamous Kanye “Ye” West in creating his siganture monochromatic streetwear that has been endlessly iterated by brands everywhere.
And now, Goldin will try her hand at appealing to a younger, trendier market with Harley-Davidson’s fashion moment. That’s right…they aren’t looking to reel in more 40-50-year-old predominantly male customers. It’s about a real shot at the fashion world, on runways and at Fashion Weeks everywhere.
The new wave of Harley-Davidson, titled “H-D Collections,” will feature elevated takes on the classic Harley look. Graphic tees, sleeker designs, and subtle logos are wrapped into a blend of chic streetwear and functional workwear. With Goldin’s expertise, the brand isn’t straying too far from themselves, while still leaping away from the gimmicky t-shirts with eagles on the front.
H-D Collections
Harley Davidson
And of course, there’s leather. It wouldn’t be a biker’s dream line if there weren’t a splash of black leather jackets and moto pants. The collection includes H-D Originals, which delves more into the graphic tee-side of Harley’s iconic look. It’ll also feature an authorized vintage program for the nostalgic Harley fan.
Another collection under the new Harley Davidson is Bar & Shield, which is Goldin’s most expensive line for the brand. Prices range from $95 t-shirts all the way up to $1,500 for those iconic leather jackets.
Goldin is known for using unique fabrics that aren’t mass produced by other brands quite yet. This makes her visions perfect for the new world of Harley-Davidson, especially because she was drawn to the engineering behind it all. Their values are similar, if for different reasons: Goldin sees the beauty in engineering fabrics…Harley sees the beauty in engineering bikes.
With an already solid foothold in the clothing world, it’s easy to see how Harley could go the wrong direction. Too many scorned traditionalist HD fans who feel isolated from the newer, younger crowd that Harley is trying to draw in. The “if it ain’t broke, don’t fix it” mentality.
However, this could be the start of a new dynasty under Goldin’s reign. Goldin, a fashion nepo-baby in her own right who has worked with big names like Donatella Versace herself, whose collections have been worn by Rihanna and Katy Perry…pairing with the traditional motorbike giant Harley-Davidson can only mean big things for the brand.
Whereas the Nike x Tiffany collaboration failed to commemorate the brand’s roots; Harley-Davidson’s entrance into the fashion community remains classic, yet progressive.
Major executive swaps strike Louis Vuitton and Christian Dior Couture, two houses under the LVMH umbrella.
On Wednesday, the luxury conglomerate announced that Michael Burke, who’s been the chairman and CEO of Louis Vuitton for ten years, is moving into an unnamed role reporting directly to LVMH CEO Bernard Arnault. Pietro Beccari — most recently chairman and CEO at Dior — will replace him.
“[Pietro Beccari’s] leadership has accelerated the appeal and success of this iconic maison. Monsieur Dior’s values of elegance and his innovative spirit have been given fresh intensity, supported by very talented designers,” Arnault said in the statement. “I am sure Pietro will lead Louis Vuitton to the next level of success and desirability.”
Burke played a major role in developing LVMH into the luxury powerhouse it is today: Not only did he help Louis Vuitton reach new heights with the help of talent like Virgil Abloh, he also worked on the integration of Tiffany & Co. into its portfolio.
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“He has done a tremendous job developing this exceptional maison,” Arnault said in the statement. “He has extended Louis Vuitton’s lead over competitors and promoted the heritage of Louis Vuitton while anchoring it in modernity.”
Replacing Beccari at Dior is Delphine Arnault, Bernard’s daughter, who comes off the heels of serving as executive vice president of Louis Vuitton. (Last month, LVMH revealed that Antoine Arnault, the eldest son, would take over as chief executive of Christian Dior SE, the family’s holding company, after working as CEO of Berluti for a decade and chariman of Loro Piana. All of Arnault’s children work in the family business: Alexandre at Tiffany & Co., Frederic at Tag Heuer, Jean in Louis Vuitton’s watches division.)
The Arnault-controled conglomerate has unique positioning within the market, spanning from fashion to fine spirits. This leadership shuffle clears way for a potential tipping point amid an ever-evolving social landscape and economic pressures: The way in which this growth happens — between design, technological innovations, shopping experiences and more — will determine the direction of luxury fashion in the years ahead.
One of Paris Metro’s original Art Nouveau entrance signs. Iconic symbols of Paris, they were … [+] designed by Hector Guimard in 1900.
getty
Every style comes back sooner or later, they say, and this may well be the year we reawaken our passion for the early-20th century style called Art Nouveau. Popular between 1890 and 1910 during the Belle Epoque period, the short-lived style quickly became wildly popular as a reaction the academic art, eclecticism and historicism of 19th century architecture and decoration. It was often inspired by natural forms such as the sinuous curves of plants and flowers, and became a dominant force in architecture, painting, sculpture, jewelry, furniture, typography and other design of every kind. Its undulating lines, swirling excesses and propulsive forms could be found everywhere; its signature whiplash shape was appealing because it was blatantly sexy and even a bit vulgar. The novel aesthetic of Art Nouveau wrapped modernism in the garb of pleasure, instead of in the hair shirt of social obligation and moral uplift.
Implicitly antiestablishment and insinuatingly revolutionary, Art Nouveau was the essential expression of the period’s uncertainly about a new century. Its first houses were those Victor Horta designed in Brussels, Belgium; later style exemplars included Catalan architect Antoni Gaudi, the kinky black-and-white drawings of British author and illustrator Aubrey Beardsley, the glassware of American Louis Comfort Tiffany, the Austrian bentwood furniture of the Thonet brothers and the radical white-on-white interiors of the Scottish couple Charles Rennie Macintosh and Margaret Macdonald Macintosh.
The demise of the style was spurred by a reactionary resurgence of Classicism.
The antiestablishment quality of Art Nouveau made it a natural for the style’s first revival during the countercultural 1960s. Its rhythmic, sinuous lines were adopted for poster and album cover art of the psychedelic age, as well as for such products as the wrappers of rolling papers. Art Nouveau-like designs had already returned with the flower patterns popular in fabrics at the time. 1960s graphic designers saw these seductive styles as the key to a new psychedelic vision.
It’s easy to see why. Flowers, curves, peacocks, updates of Art Nouveau images from the past (including skeletons and roses)—dialed up with “eye-vibrating” colors—made the perfect visual accompaniment for the acid-flavored Romanticism that took root during the Vietnam era. Even the fonts were poached from turn-of-the-century graphic art. Art Nouveau became the house style for the counterculture of the mid 20th century.
Today, Art Nouveau appears to be making another comeback, heralded by a series of museum exhibitions and books. Among them is Hector Guimard: How Paris Got Its Curves, an exhibit at the Cooper Hewitt, Smithsonian Design Museum in New York City from November, 2022 to May 31, 2023; and then the Richard H. Driehaus Museum, Chicago, June 22, 2023 to January 7, 2024. It is a celebration of France’s most famous art nouveau architect, Hector Guimard, who is perhaps best known for his iconic Paris Métro entrances.
Interestingly enough, New York’s Museum of Modern Art decided in 1958 to permanently install one of Guimard’s cast-iron Paris Métro entrances of circa 1900 in its Abby Aldrich Rockefeller Sculpture Garden, where the patinated metalwork of its sinuous vegetal forms harmonize perfectly with nearby sculpture by Rodin, Matisse and Picasso. It, no doubt, presaged the worldwide Art Nouveau revival craze that was about to begin. Maybe it even helped to spur it.
But whether Art Nouveau is out of style or not, we never quite get enough of those sexy lines that speak of constant movement, uncertain boundaries and inevitable change. These are elements we recognize and respond to.
And that may be Art Nouveau’s most compelling characteristic: more than other styles, it reflects the human condition at its most seductive, inevitable and fragile best.
